Running head: LEARNING MUSIC THROUGH IMPROVISATORY GAMES PLAYING MUSIC: A CURRICULAR OUTLINE FOR MUSIC LEARNED THROUGH IMPROVISATORY GAMES by Coty Taylor Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Master of Music Education, Indiana University July 2021 LEARNING MUSIC THROUGH IMPROVISATORY GAMES Accepted by the faculty of the Indiana University Jacobs School of Music, In partial fulfillment of the requirements for the degree Master of Music Education Thesis Committee ——————————————————— Frank Diaz, Chair ——————————————————— Peter Miksza ——————————————————— Lauren Richerme LEARNING MUSIC THROUGH IMPROVISATORY GAMES PLAYING MUSIC: A CURRICULAR OUTLINE FOR MUSIC LEARNED THROUGH IMPROVISATORY GAMES Play is a crucial part of early childhood development and also a critical element in music mak- ing. Early childhood educators and researchers have acknowledged play as an important part of educating young children, but play is often undiscussed in the context of early childhood music education and music education in general. Although researchers have addressed the importance of guided and unguided musical play (John et al., 2016; Berger & Cooper, 2003; Koops & Tag- gart, 2011) and improvisation (Hickey, 2009, 2015; Hickey et al., 2016), opportunities for music students and pre-service music teachers to engage in musical play and improvisation remain lim- ited (Healy, 2014; Madura Ward-Steinman, 1999; Monk, 2013; Ott, 2015). However, a curricu- lum that uses a foundation of musical play to engage students in improvisatory music making had not yet been created. The purpose of this practicum was to create eight lesson plans that use games to engage students in structured and unstructured musical play. These lessons were de- signed with the intent that they accompany education students receive in an instrumental curricu- lum as outlined by the National Association for Music Education (2014). The goals of these les- sons were to investigate and re-contextualize the operative word “play” in music education and supply opportunities for students to improvise through play. ii LEARNING MUSIC THROUGH IMPROVISATORY GAMES Table of Contents PLAYING MUSIC: A CURRICULAR OUTLINE FOR MUSIC LEARNED THROUGH IM- PROVISATORY GAMES ............................................................................................................. ii Table of Contents ........................................................................................................................... iii List of Figures ................................................................................................................................ iv Chapter 1: Statement of the Problem .............................................................................................. 1 Chapter 2: Review of Related Literature ........................................................................................ 7 Chapter 3: Methodology ............................................................................................................... 23 Chapter 4: Lesson Materials ......................................................................................................... 29 Chapter 5: Discussion ................................................................................................................... 49 References ..................................................................................................................................... 56 iii LEARNING MUSIC THROUGH IMPROVISATORY GAMES List of Figures Figure 1: The Two Units of the Eight Playful Improvisation Lesson Plan……………………..28 iv LEARNING MUSIC THROUGH IMPROVISATORY GAMES Chapter 1: Statement of the Problem Rationale Play is a crucial part of early childhood development and also a critical element in music making. Early childhood educators and researchers have acknowledged play as an important part of educating young children, but play is often undiscussed in the context of early childhood mu- sic education and music education in general. In a discipline directed by standards, traditional stakeholders, and an educative experience centered on evaluation and assessment, playful music- making experiences are rarely an opportunity. There is a need for a music curriculum that utilizes play as a more informal mode of music-making. Researchers have addressed the importance of musical play in a child's musical develop- ment through investigations of guided/structured and unguided/free musical play. Guided musi- cal play can consist of musical games and activities that the teacher directs through to the end, while free musical play can comprise of activities that are led by the child's exploration (Berger & Cooper, 2003). Berger and Cooper (2003) created a 10-week music education program in which play activities were used to observe how children explore sound. They found that children need uninterrupted access to musical materials in an environment and time for play episodes. Play was extinguished when adults corrected or criticized children's musical activities. In a case study of early childhood classes, John et al. (2016) used a variation of musical games and movement games, as well as compositional and improvisational activities, to engage children between four and six years of age in episodes of musical play. They found that free mu- sical play allowed for students to engage in social and shared regulation behaviors while eliciting 1 LEARNING MUSIC THROUGH IMPROVISATORY GAMES positive emotions. Their findings revealed that free musical play can enhance musical communi- cation through nurturing children's abilities to listen and respond with music instead of verbal language. In an article that presented a rationale for developing a playful music education for pre- service music teachers, Koops and Taggart (2011) argued that play can also be beneficial for adult learners. They suggested that stress and in-service teacher job dissatisfaction can be dimin- ished through play. They argued that pre-service music teachers must have opportunities to en- gage in play in order to model and facilitate a playful music education for their students. Improvisation may be one the most natural forms of creating and performing music. As Bailey (1992) aptly wrote, “Historically, [improvisation] pre-dates any other music—mankind’s first musical performance couldn't have been anything other than a free improvisation…” (p. 83). Despite humans’ innate tendency to freely improvise music, the majority of music students spend a great deal of their music education learning about, practicing, performing, and interpreting mu- sic composed with Western-classical notation. In the pursuit of learning composed music, stu- dents are rarely given an opportunity to explore their creative individuality via free musical im- provisation. Although the National Association for Music Education (2014) placed an emphasis on teaching improvisation, public schools are still lacking opportunities for music students to freely improvise (Bernhard & Stringham, 2016; Brophy, 2002; Snell, 2013; Ward-Steinman, 2007). Much of the literature written on improvisation in music education focuses on general music teachers and curriculum (Beegle, 2010; Brophy, 2005; Gruenhagen & Whitcomb, 2014; Whitcomb, 2013). This emphasis on general music is likely due to teaching approaches that in- corporate improvisation, such as the Orff Schulwerk and Dalcroze methods. On the other hand, 2 LEARNING MUSIC THROUGH IMPROVISATORY GAMES free improvisation requires minimal technical skill or theoretical knowledge, making it an ideal gateway into music for young musicians. Aside from simple improvisation skills learned in general music programs, the American- born jazz style is the predominant foundation of improvisation for music education and is also an area of focus in many research studies (Madura Ward-Steinman, 2007, 2008; Wehr-Flowers, 2006). Music programs have recently begun to adopt rock and hip-hop into the curriculum, which are offsprings of jazz; however, these styles of music do not often provide students with the chance to express their own originally conceived music in a conversational manner with their peers and teacher(s) (Kanellopoulos, 2011). Although there are many creative ways to incorporate improvisation activities into en- sembles that traditionally perform Western-classical music, researchers suggests that music teachers are ill-equipped to supply students with experiences in improvisation (Healy, 2014; Madura Ward-Steinman, 1999; Monk, 2013; Ott, 2015). Likewise, Sarath (1996) and Palmer (2014) have identified a need to integrate improvisation into collegiate music theory courses as a vehicle to demonstrate mastery of the concepts learned. The sheer number of books that Agrell (2008, 2010, 2013a, 2013b, 2014) has published on the subject of improvisation for the non-im- provising musician indicates that musicians have numerous resources for investigating purely creative music-making activities. These volumes contain hundreds of creative exercises, prompts, and ideas for musicians to find joy, value, and play in the act of improvisation. Since the 1960s there has been a resurgence of interest in free improvisation, and studies have begun to address the opportunities that free improvisation has to offer for music education. Creative agency, informal teaching methods, and dialogical and democratic pedagogical tech- 3 LEARNING MUSIC THROUGH IMPROVISATORY GAMES niques are among the